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'This is an extraordinary book, brilliantly conceived and beautifully written. Its approach to the well-worn subject of tragic drama is quite fresh. While Goodkin draws on the best of traditional scholarship in philosophy, classical philology, and literary criticism, he argues with an intellectual style that is entirely his own. Every reader will be stimulated in his own particular way-so great is the range and power of this book-to extend the book's argument toward or from his own area of interest.'-William Levitan, Princeton University
A Cultural History of Tragedy in the Middle Ages by Jody Enders,Theresa Coletti,John T. Sebastian,Carol Symes Pdf
For the first time, a group of distinguished authors come together to provide an authoritative exploration of the cultural history of tragedy in the Middle Ages. Reports of the so-called death of medieval tragedy, they argue, have been greatly exaggerated; and, for the Middle Ages, the stakes couldn't be higher. Eight essays offer a blueprint for future study as they take up the extensive but much-neglected medieval engagement with tragic genres, modes, and performances from the vantage points of gender, politics, theology, history, social theory, anthropology, philosophy, economics, and media studies. The result? A recuperated medieval tragedy that is as much a branch of literature as it is of theology, politics, law, or ethics and which, at long last, rejoins the millennium-long conversation about one of the world's most enduring art forms. Each chapter takes a different theme as its focus: forms and media; sites of performance and circulation; communities of production and consumption; philosophy and social theory; religion, ritual and myth; politics of city and nation; society and family, and gender and sexuality.
It is often assumed that classical Sanskrit poetry and drama lack a concern with the tragic. However, as Bihani Sarkar makes clear in this book, this is far from the case. In the first study of tragedy in classical Sanskrit literature, Sarkar draws on a wide range of Sanskrit dramas, poems and treatises – much of them translated for the first time into English – to provide a complete history of the tragic in Indian literature from the second to the fourth centuries. Looking at Kalidasa, the most celebrated writer of Sanskrit poetry and drama (kavya), this book argues that constructions of absence and grief are central to Kalidasa's compositions and that these 'tragic middles' are much more sophisticated than previously understood. For Kalidasa, tragic middles are modes of thinking, in which he confronts theological and philosophical issues. Through a close literary analysis of the tragic middle in five of his works, the Abhijñanasakuntala, the Raghuva?sa, the Kumarasambhava, the Vikramorvasiya and the Meghaduta, Sarkar demonstrates the importance of tragedy for classical Indian poetry and drama in the early centuries of the common era. These depictions from the Indian literary sphere, by their particular function and interest in the phenomenology of grief, challenge and reshape in a wholly new way our received understanding of tragedy.
Published in 1947 as the Cold War was heating up, Trilling's only novel was a prophetic reckoning with the ideological conflicts that would come to a head in the McCarthy era. But this work of complex deliberation, high passion, and tragic import is no less striking for its richly detailed, often slyly humorous picture of the manners and mores of the intelligentsia.
The Making of British Bourgeois Tragedy by Alex Eric Hernandez Pdf
The 'rise of the middle class' in the eighteenth century has long been taken to usher in a prosaic age synonymous with the death of tragedy, an age in which the sheer ordinariness of bourgeois life was both antithetical and inured to the tragic. But the period's literature tells a very different story. Re-assembling a body of print and performance concerned with the misfortunes of the middling sort, The Making of British Bourgeois Tragedy argues that these works imagined a particularly modern sort of affliction, an 'ordinary suffering' proper to ordinary life, divested of the sorts of meanings, rhetorics, and affective resonances once deployed to understand it. Whereas neoclassical aesthetics aligned tragedy with the heroic and the admirable, this 'bourgeois and domestic tragedy' treated the pain of common people with dignity and seriousness, meditating upon a suffering that was homely, familiar, entangled in the nascent values of capitalism, yet no less haunted by God. Hence, where many have seen aesthetic stagnation, misfiring emotion, and the absence of an idealized tragicness in the genre, this volume sees instead a sustained engagement in the emotional processes and representational techniques through which the middle rank feels its way into modernity. By attending closely to this long neglected subject, The Making of British Bourgeois Tragedy turns the critical account of eighteenth-century tragedy on its head. It reads the genre's emergence in the period as a vigorous cultural conversation on whose life—and whose way of life—is grievable, as well as how mourning might be performed
The Politics of Tragedy and Democratic Citizenship by Robert C. Pirro Pdf
This study of the political significance of theories of tragedy and ordinary language uses of "tragedy" offers a fresh perspective on democracy in contemporary times.
Tragedy and the Tragic in German Literature, Art, and Thought by Stephen D. Dowden,Thomas P. Quinn Pdf
Essays in this volume seek to clarify the meaning of tragedy and the tragic in its many German contexts, art forms, and disciplines, from literature and philosophy to music, painting, and history.
The Politics and Poetics of Contemporary English Tragedy by Sean Carney Pdf
The Politics and Poetics of Contemporary English Tragedy is a detailed study of the idea of the tragic in the political plays of David Hare, Howard Barker, Edward Bond, Caryl Churchill, Mark Ravenhill, Sarah Kane, and Jez Butterworth. Through an in-depth analysis of over sixty of their works, Sean Carney argues that their dramatic exploration of tragic experience is an integral part of their ongoing politics. This approach allows for a comprehensive rather than selective study of both the politics and poetics of their work. Carney's attention to the tragic enables him to find a common discourse among the canonical English playwrights of an older generation and representatives of the nineties generation, challenging the idea that there is a sharp generational break between these groups. Finally, Carney demonstrates that tragic experience is often denied by the social discourse of Englishness, and that these playwrights make a crucial critical intervention by dramatizing the tragic.
The Arab Spring promised to end dictatorship and bring self-government to people across the Middle East. Yet everywhere except Tunisia it led to either renewed dictatorship, civil war, extremist terror, or all three. In The Arab Winter, Noah Feldman argues that the Arab Spring was nevertheless not an unmitigated failure, much less an inevitable one. Rather, it was a noble, tragic series of events in which, for the first time in recent Middle Eastern history, Arabic-speaking peoples took free, collective political action as they sought to achieve self-determination.
The Tragedy of Religious Freedom by Marc O. DeGirolami Pdf
Legal scholars expect to resolve religious dilemmas according to principles of equality, neutrality, or separation of church and state. But such abstractions fail to do justice to the clashing values in today’s pluralistic society. Marc DeGirolami explains why conflicts implicating religious liberty are so emotionally fraught and deeply contested.
If he had been with me everything would have been different... I wasn't with Finn on that August night. But I should've been. It was raining, of course. And he and Sylvie were arguing as he drove down the slick road. No one ever says what they were arguing about. Other people think it's not important. They do not know there is another story. The story that lurks between the facts. What they do not know—the cause of the argument—is crucial. So let me tell you...
A Cultural History of Tragedy in the Middle Ages by Jody Enders,Theresa Coletti,John T. Sebastian,Carol Symes Pdf
For the first time, a group of distinguished authors come together to provide an authoritative exploration of the cultural history of tragedy in the Middle Ages. Reports of the so-called death of medieval tragedy, they argue, have been greatly exaggerated; and, for the Middle Ages, the stakes couldn't be higher. Eight essays offer a blueprint for future study as they take up the extensive but much-neglected medieval engagement with tragic genres, modes, and performances from the vantage points of gender, politics, theology, history, social theory, anthropology, philosophy, economics, and media studies. The result? A recuperated medieval tragedy that is as much a branch of literature as it is of theology, politics, law, or ethics and which, at long last, rejoins the millennium-long conversation about one of the world's most enduring art forms. Each chapter takes a different theme as its focus: forms and media; sites of performance and circulation; communities of production and consumption; philosophy and social theory; religion, ritual and myth; politics of city and nation; society and family, and gender and sexuality.
Each volume of the Dictionary of World Biography contains 250 entries on the lives of the individuals who shaped their times and left their mark on world history. This is not a who's who. Instead, each entry provides an in-depth essay on the life and career of the individual concerned. Essays commence with a quick reference section that provides basic facts on the individual's life and achievements. The extended biography places the life and works of the individual within an historical context, and the summary at the end of each essay provides a synopsis of the individual's place in history. All entries conclude with a fully annotated bibliography.
Twentieth century critics have definite ideas about tragedy. They maintain that in a true tragedy, fate must feel the resistance of the tragic hero's moral freedom before finally crushing him, thus generating our ambivalent sense of terrible waste coupled with spiritual consolation. Yet far from being a timeless truth, this account of tragedy only emerged in the wake of the French Revolution. What Was Tragedy? demonstrates that this account of the tragic, which has been hegemonic from the early nineteenth century to the present despite all the twists and turns of critical fashion in the twentieth century, obscured an earlier poetics of tragedy that evolved from 1515 to 1795. By reconstructing that poetics, Blair Hoxby makes sense of plays that are "merely pathetic, not truly tragic," of operas with happy endings, of Christian tragedies, and of other plays that advertised themselves as tragedies to early modern audiences and yet have subsequently been denied the palm of tragedy by critics. In doing so, Hoxby not only illuminates masterpieces by Shakespeare, Calderón, Corneille, Racine, Milton, and Mozart, he also revivifies a vast repertoire of tragic drama and opera that has been relegated to obscurity by critical developments since 1800. He suggests how many of these plays might be reclaimed as living works of theater. And by reconstructing a lost conception of tragedy both ancient and modern, he illuminates the hidden assumptions and peculiar blind-spots of the idealist critical tradition that runs from Schelling, Schlegel, and Hegel, through Wagner, Nietzsche, and Freud, up to modern post-structuralism.
The Tragedy of Political Science by David M. Ricci Pdf
"This book is both a comprehensive review and a thoughtful critique of the development of political science as an academic discipline in this century. David Ricci eloquently describes the tragic dilemma of political science in America: when political scholars deal with politics in a scientific fashion, they reveal facts that contradict democratic expectations; when the same scholars seek to justify those expectations, their moral arguments carry little professional weight."--Jacket.
